ABOUT US
OTTA is the result of two music lover’s lifetime quest for the full expression of what they know is possible in music replay: the moments when the equipment disappears and only the music remains. OTTA stands for “Over The Top Analogue”.
Out of one singular obsession, to close the distance between the performer’s intention and the listener’s heart, and one belief system, that the highest purpose of reproduction of music is in components that are composed and not assembled, dedicated to the highest purpose, which is to transfer passion and emotion from the performer and the listener, two lifelong music friends, Philip O’Hanlon and Eckard Derks, started OTTA at the point of contact where the physical grooves of a vinyl record is converted into electrical signals with precision – the cartridges.
OTTA marries 21st-century innovation with a century of accumulated understanding, combining scientific precision with artisanal craft. The result is something that cannot be measured on a spec sheet. It is a three-dimensional soundstage that envelops you, a silence between the notes that breathes, a midrange so right that even the most jaded ear finds itself suddenly, helplessly, moved. OTTA sets out to transform your listening room into a sanctuary of peace and contentment, delivering fresh insight into music reproduction. OTTA’s beautiful and innovative musical instruments are crafted for the discerning connoisseur.
“Music is God’s gift to man, the only art of Heaven given to earth, the only art of earth we take to Heaven.”
-Walter Savage Landor
The soul of music lives in the midrange, that band of frequencies where emotion travels, where a voice becomes a person, where a trumpet becomes Louis Armstrong, where a piano becomes Bernstein himself at the podium. Without a foundation that honors this truth, music grows thin and uninvolving, reduced to sound rather than felt as feeling. OTTA components are built to protect this. Not to gild it. Not to analyze it. To honor it.
We believe that resolution in the service of musicality is a virtue.
Resolution in pursuit of itself is a distraction.
There is a meaningful difference between a Stradivarius and a Guarneri, between a New York Steinway and a Hamburg Steinway and OTTA will reveal it. But the greater achievement is when Bernstein conducts the Resurrection Symphony, you will not feel you are listening to a recording.
You will be in the hall.
You will be swept away by a transcendental experience, consumed by the power of the music.
OTTA Technology
Our precision CNC-machined wooden enclosures are machined to the tightest tolerances to perfectly enclose the aluminum base motor. The motor utilizes our proprietary magnet system precisely installed in an instrument-grade case which sports a precious stone cantilever that allows the diamond stylus to track the record’s grooves with uncanny accuracy.
OTTA Mandolin MC Cartridge
Weight: 8.4 g
Body: Black Sandalwood
Cantilever: Ruby
Stylus: Refined elliptical diamond
Vertical Tracking Angle: 20°
Coil: Pure Iron Cross Coil
Electrical
Output Voltage: 0.35
Internal Impedance: 5 Ohm
Frequency Response low +/- 3dB(Hz): 20
Frequency Response high: +/- 3dB(Hz): 25 000
Channel Balance< 0.8 dB
Channel Separation> 26 dB
Dynamic Compliance15 μm/mN
Set-Up
Recommended Loading Impedance: 100 – 470 Ohm
Recommended Tracking Force: 1.5 – 2.0 g (1.8 g recommended)
Tracking Ability: (315 Hz / 2 g) 75 μm
Recommended Tonearm: Medium mass
Break-In Period: 40 hours
OTTA Voice
Resolution vs. Musicality
Many audiophiles value resolution. It’s perfectly natural to want to hear everything a recording has to offer. But where do you draw the line? When does resolution become too important? All too often, audio components, especially moving-coil cartridges, sacrifice the warmth of the lower midrange in favor of emphasizing the upper midrange, creating the illusion of detail. The soul of music lies in the lower midrange. To sacrifice this range means diminishing the listener’s emotional connection with the music, the performer, and the composer. Without this range, random sounds or noises are left without context.
To create this emotional connection to the music, it is important to find the right balance. At the same time, we want to hear the performance venue and the performers in a three-dimensional soundscape before us.
It’s a difficult balancing act – we want to captivate the listener with magical midrange while simultaneously offering sufficient resolution to distinguish a Stradivarius from a Guarneri, a Hamburg Steinway from a New York Steinway.
In addition to musicality and resolution, we also strive for dynamics, low background noise and powerful bass – that emotionally charged low-frequency energy that makes the music physically captivating.
For example, when you listen to Leonard Bernstein’s final recording of Mahler’s Resurrection Symphony (DG), we want you to be left speechless, emotionally overwhelmed, and convinced of a unique spiritual experience. You will appreciate how Bernstein emphasizes the spiritual and mystical aspects of the work, creating a powerful acoustic and mystical atmosphere. Similarly, when you hear Louis Armstrong sing and play “Saint James Infirmary,” you will be captivated by the poignant lyrics and the musical journey that brings the song’s full emotional depth to life.
It’s a captivating blend of jazz and blues, delivered by Satchmo’s charismatic vocals, raspy yet melodic, accompanied by his powerful trumpet playing. As you listen to “Kind of Blue,” we want to remind you once again that Miles Davis forged a connection with the listener like no other, before or since. Journey from the breathtaking subtleties of “So What,” through the solitary tale of “Blue in Green” with its tranquil, serene mood, to the lighthearted humor of “Freddie Freeloader,” which lifts your spirits as you ride on Miles’ flying carpet. And that’s just the first side of the record!